Vladimir Nabokov, his life cleaved by exile, created a miniature version of the homeland he would never see again and tucked it, with a jeweler’s precision, into the housing of John Shade’s miniature epic of family sorrow. Anderson—who has suggested that the breakup of his parents’ marriage was a defining experience of his life—adopts a Nabokovian procedure with the families or quasi families at the heart of all his films, from Rushmore forward, creating a series of scale-model households that, like the Zemblas and Estotilands and other lost “kingdoms by the sea” in Nabokov, intensify our experience of brokenness and loss by compressing them. That is the paradoxical power of the scale model; a child holding a globe has a more direct, more intuitive grasp of the earth’s scope and variety, of its local vastness and its cosmic tininess, than a man who spends a year in circumnavigation.

Chabon himself is no stranger to world-building, or to Nabokovilia: he has made Nabokov references in Wonder Boys, The Amazing Adventures of Kavalier and Clay, and in The Yiddish Policemen's Union.